That said, the story of the High Renaissance is closely associated with the Renaissance in Romewhere ambitious Popes including Julius II and Leo X financed a wide range of public art projects to ensure that the city surpassed Florence as the greatest cultural centre in Italy. In fact, both Florence and Rome became key stop-overs in the European Grand Tour of the 18th century. Important artists active outside the major centres, include Antonio Allegri da Correggiothe creator of the highly influential fresco the Assumption of the Virgin Parma Cathedral
Lady with a Unicorn Get a high-quality picture of Lady with a Unicorn for your computer or notebook. At the time in of the identification of the artist as Raphael, the painting had been heavily painted over to represent a St Catherine.
After careful cleaning, the perfect geometry and detachment of this courtly figure were revealed, although her identity is not known.
Present day critics attribute the work to Raphael, referring it to and to the Florentine environment. It can, in fact, be inserted among the portraits of that period, for it represents an apex in the artist's stylistic development.
The fullness of the well constructed figure is set apart from a vast landscape background, inspired by Da Vinci but executed with the clarity typical of Raphael. Piero della Francesca and Perugino influences have also been noted in the style of the painting.
It is difficult to perceive the hand of the artist in the face which, although beautifully drawn, lacks the physiognomic characteristics which typify Raphael's subjects.
But the overall attention to the analytical effects of Flemish art leads us to attribute the work to Raphael, since his attention was turned to the production of this school precisely in these years. Furthermore, the compositional harmony which is a principal element of Raphael's art is visible in the compact forms of the solidly conceived portrait.
The subject has been associated with Francesco Maria Della Rovere, and possibly correctly: The merchant Agnolo Doni married Maddalena Strozzi inbut Raphael's portraits were probably executed inthe period in which the painter studied the art of Da Vinci most closely.
The composition of the portraits resembles that of the Mona Lisa: But the low horizon of the landscape background permits a careful assessment of the human figure by providing a uniform light which defines surfaces and volumes. This relationship between landscape and figure presents a clear contrast to the striking settings of Leonardo, which communicate the threatening presence of nature.
But the most notable characteristic that distinguishes these portraits from those of Da Vinci is the overall sense of serenity which even the close attention to the materials of clothes and jewels which draw one's attention to the couple's wealth is unable to attenuate.
Every element - even those of secondary importance - works together to create a precise balance. These works, linked not only by the kinship of the subjects, but also by their evident stylistic homogeneity, mark the beginning of Raphael's artistic maturity.
The two portraits, which Vasari mentions, were originally in a hinged frame so that they could be opened and closed like a book.
In a portrait diptych like this, a form very popular in the Renaissancethe man's portrait was usually on the left, the more important side heraldically. Perugino's compositions - like those of all Quattrocento masters - were based on linear rhythms.
In Florence Raphael transformed his compositional type in a constructive-monumental sense. This transformation is recognizable mainly in the human figures, who are still harmonically enclosed in geometric schemes and accompanied by a clear daylight in the background.
An example of his ability to resolve natural elements in a synthetic vision which transcends particular situations is the portrait of a woman called La Donna Gravida in the Pitti Gallery, Florence.
The subject is a pregnant woman, conscious of her approaching motherhood, who looks intensely toward the spectator, with her hand on her abdomen. The portrait is finely balanced. Solid forms are reduced to pure spherical volumes, overlaid with carefully chosen colours. The sense of colour which this painting shows will be used again by Raphael in his portrait of Cardinal Fedra Inghirami.
There are very few examples of portraits of a pregnant woman in Renaissance painting. Raphael shows great sensitivity for the special situation of the mother-to-be by showing both her fragility and her calm pride. Her left hand, resting protectively, gently emphasizes the swell of her stomach, while her gaze rests directly on the onlooker.
Self-Portrait Get a high-quality picture of Self-Portrait for your computer or notebook. Nevertheless, many art historians consider it a work from the Florentine period.
The soft light which pervades the portrait certainly recalls Da Vincibut the restless and problematic elements which Leonardo's complex figurative research present are absent. The intense representation of the youth shows no sign of internal tension.
On the contrary, it communicates a serene observation of reality through a pictorial rendering rich in synthetic capacity. It certainly comes from the Florentine environment, for it was given in trust to the National Gallery of the Marches by the Uffizi, where it had been stored for several hundred years.
It was attributed to Raphael only recently. Leonardo inspires mainly the pose of the figure whose characteristically crossed hands constitute a very clear reference to the Mona Lisa. The neatness of the large areas of colour which emerge in lighter tones from the near-black background, and the analytical treatment of the details of the woman's clothing are characteristic of Raphael.
The dispersive effect of this attention to detail is fully compensated by the tones of colour - used here in a fairly limited range - which unify the composition as a whole. Portrait of a Cardinal Get a high-quality picture of Portrait of a Cardinal for your computer or notebook. It might be Cardinal Francesco Alidosi, whom the humanist Bembo described with the cutting words, "Faith meant nothing to him, nor religion, nor trustworthiness, nor shame, and there was nothing in him that was holy.
But it has recently been dated on the basis of its composition which resembles those of the Portraits of Agnolo and Maddalena Doni and the Mute Woman.Which of the following was the parish church constructed for the Medici family? B. church of San Lorenzo. Which of the following is not one da Vinci's contributions to technology?
What is the mood of the painting Pope Leo X . Free Online Library: Raphael's Portrait Leo X with Cardinals Giulio de' Medici and Luigi de' Rossi: a religious interpretation *. by "Renaissance Quarterly"; Humanities, general Literature, writing, book reviews Portraits Criticism and interpretation.
Raphael, Portrait of Pope Julius II, , oil on poplar, x 81 cm (National Gallery, London) Speakers: Dr. Beth Harris and Dr. Steven Zucker. Get a high-quality picture of Pope Leo X with Cardinals Giulio de' Medici and Luigi de' Rossi for your computer or notebook.
‣ Raphael's greatest masterpiece, possibly the only work he executed without help during his last years, is the Portrait of Pope Leo X and Cardinals Luigi de' Rossi and Giulio de' Medici (later to become Pope Clement.
This tract was well known to Pope Leo X. Guillaume Briçonnet, Cardinal Giulio de’ Medici’s predecessor as bishop of Narbonne, and his two sons also consulted the tract as spiritual guide. Cardinal Giulio knew the Apocalypsis Nova and could have influenced the painting's final composition.
Michelangelo sent back by Leo X to work on the chapel to make a burial crypt if the Medici family were to die out. michelangelo buries them in a grand chapel across from Brunelleschi's Old Sacristy- THough Michelangelo does a coffered dome, but Brunelleschi does a ribbed dome.